Oude huizen en water aan het Surinameplein te Amsterdam 1822 - 1931

Editor: Here we have Maurits van der Valk's "Oude huizen en water aan het Surinameplein te Amsterdam," created sometime between 1922 and 1931. It’s a cityscape done as an etching. The textures in the water really stand out, and it feels very detailed for a print. What strikes you when you look at it? Curator: What is most immediately compelling is the contrast achieved within a monochromatic scheme. The artist has used the etching technique to its full potential, varying line weights to create a subtle tonal range. The composition itself invites consideration; the structures on either side create a frame for the scene, but the focus drifts. Where do you feel your eye is drawn, and how does the artist encourage that? Editor: I keep going back and forth between the boats in the foreground and the buildings in the background. It's like my eyes can’t settle. Is that intentional, do you think? Curator: I believe the lack of a singular focal point is entirely intentional. The linear perspective flattens the image; by avoiding stark contrasts in value between the foreground and background elements, van der Valk subtly undermines the depth that perspective typically provides, generating tension within the picture plane. The etching foregrounds its own flatness. Editor: That makes sense! So it’s less about the specific place and more about the artistry of the print itself. Curator: Precisely. The subject matter is merely the vehicle through which the artist explores the capabilities and limitations of the etching medium. Editor: Wow, I had not thought of it that way. I’ll definitely look at etchings differently now. Curator: And I will make a point to try and keep an open mind about where to allow my focus to drift in future experiences.